Ian Bradshaw is a freelance photographer based in Virginia and New York. He has had a long and distinguished career as a photographer and also as a photo editor. He has been Photo Editor of National Daily and Sunday Newspapers in Britain as well as photo editor of the Telegraph Sunday Color magazine in London.
He is a former winner of the World Press Photo Award for his famous picture of a streaker being arrested by a London bobby with a strategically placed helmet. He is a former winner of the British Press Photographer of the Year, Texaco Industrial Photographer of the Year, Ilford Industrial Photographer of the Year and his photographs have been voted Life magazine Picture of the Year and People magazine Picture of the Decade.
He has recently won five CASE awards for his work at Washington & Lee University and a Gold ADDY 2002 for his work on the Virginia Episcopal School campaign. In addition to the CASE awards his educational work has consistently won top advertising awards in America culminating in the Howard Packett Award for Creative Excellence for his work on Chatham Hall viewbook 2003.
He is the author of The Thinking Photographer and Pro Techniques of Creative Photography. He is represented by Watson & Spierman in New York where he specializes in Environmental Portraiture in Advertising & Annual Reports and he also specializes in Educational work for viewbooks and magazines for colleges and Universities across America. Ian Bradshaw moved from England to America four years ago and his unique specialist approach to people and portraiture attracted schools, colleges & Universities throughout the USA.
He travels extensively and tries to balance his educational work with his commitments in the advertising world of New York. A former photojournalist, his wide ranging work covers everything from sports to interiors and architecture but specializes in people. It is his definitive style of people photography that has caught the attention of art directors in America and worldwide.
Added @ Bill Brandt:
British Photographer 1903 - 1983
The greatest British photographer since Fox Talbot was in fact born and brought up in Germany, and in later life attended elocution lessons to mask his accent. A man of privileged background, he did more than most to highlight the inequalities of the English class system, and, as an artist, he used photography at a time when it was seen as the poor relation of all other art forms. But some of his most powerful images, such as those documenting social deprivation, were, strictly speaking, fictitious, featuring not real-life subjects but friends, family and paid extras.
Brandt's legacy is anything but obscure. "He was the one person who anyone with ambition measured themselves against from the 1950s," says Mark Haworth-Booth of the Victoria and Albert Museum. "There was no one who could come close to him".
Brandt's career began in Paris in 1929, studying with Man Ray, and ended with his death in 1983. His influence can still be seen in the work of photographers as diverse as Eve Arnold, Don McCullin and Terry O'Neill, and artists such as Francis Bacon and David Hockney.
It wasn't simply in artistic circles that Brandt's black-and-white images resonated. His early assignments in the industrial north for Picture Post and Lilliput magazines, and his first book in 1936, The English at Home, which juxtaposed images of privilege and wealth with belowstairs working-class reality, also created a powerful portrait of social injustice that was to be a visual reference point for the politics of the post-war consensus.
There was hardly an area of photography that Brandt did not master. Haworth-Booth says he was more "three-dimensional" than other photographers. "He did landscape, social deprivation, surrealist, nudes and portraits he was always incredibly busy"
During the war, Brandt worked for the Ministry of Information and captured some of the most memorable pictures of Londoners during the Blitz. But his genius did not make him much money during his lifetime. In 1964 he was charging the Victoria and Albert Museum just £5 for a print - virtually cost price. At the Focus Gallery in London, where a collection of his work goes on display and on sale from Tuesday, prices are closer to £12,000.
Tamri, კიდე ვიცი ბევრი ძაან, ანბანური თანმიმდევრობით მივყვები... ხვალ კიდე ჩავყრი ბევრს, ეხლა დავიღალე მაგრად, უნდა ვიპოვნო ჯერ ავტორები, მერე ფოტოები მერე ბოიოგრაფიები, მერე უნდა ავტვირტო და აქ ჩავყარო და უF... ცოტა მივიღალე, თორემ მეტსაც ჩავყრიდი უი რა ვიწუწუნეეეეეეე
Sopho Nadareishvili: რავიცი ყველა ავტორზე ცალცალკე თემა, მეგონა ბევრი იქნებოდა... მაშინ ვის ბიოგრაფიასაც ვიპოვნი, იმის პაპკას გავხსნი და ვისასაც ვერა, აქ ჩავყრი... ეხლა დგეს და ხვალ დაუნლოადებს ვერ გავაკეთებ, გუშინ დამივირუსდა კომპიუტერი და როცა გავაკეთებ კიდე ბევრს ჩავყრი
Esther Bubley May 12 - July 2, 2005 Reception Thursday, May 12, 7 - 9pm
Stephen Cohen Gallery announces an exhibition of black and white images created by one of the true pioneers of photojournalism, Esther Bubley. In looking at the breadth of her long career as a photojournalist, one cannot escape the fact that she worked very well with people — putting their humanity front and center — whether it was a soldier sleeping in a bus station waiting to return home or workers repairing the Brooklyn Bridge.
Born in Phillips, Wisconsin, Bubley (19211998) became interested in photography at an early age and left home in her late teens to study at the Minneapolis School of Design. Upon completing a one-year program, and a brief stint at Vogue, Bubley moved to Washington, D.C. in 1941 where wartime jobs for women were plentiful to earn a living doing the one thing she loved most photography.
During the initial months following her move to Washington, Bubley ventured throughout the nation’s capitol photographing wartime subjects. These honest and austere images of life on the homefront eventually caught the eye of legendary Roy Stryker who recruited Bubley to work with him on his ongoing document of American life, a project which he started at the FSA, moved to the Office of War Information (OWI) and continued after the war under the auspices of the Standard Oil of New Jersey (SONJ). Notable among the SONJ stories are two Bubley projects, the 1945 portrayal of the oil town Tomball, Texas and the 1947 “Bus Story” which explored the role of long-distance bus travel in rapidly-changing American life. Images from these stories are included in this exhibition along with other significant work from from the 40s and early ‘50s.
Bubley also produced numerous photo-essays, several cover stories for LIFE, and a major piece called "How America Lives" for Ladies' Home Journal, a celebrated series which ran intermittently between 1948 and 1960.
Her photographs are in many private and corporate collections, including the Metropolitan Museum of Art, MoMA, the National Portrait Gallery, George Eastman House, the Amon Carter Museum of American Art, and the Library of Congress.
The show will take place in conjunction with the publication of “Esther Bubley on Assignment” published by Aperture, which will be available for purchase at the gallery.
Added @ Bull Clarence Sinclair:
Clarence Sinclair Bull was head of the MGM stills department for over forty years and he took over 4,000 photographs of Garbo from 1929 until the end of her career in 1941. He was Garbo's favorite photographer (she had clashed with George Hurrell and did not care for his manic personality) and as her power at the studio grew, she eventually requested that only Bull photograph her.
Added @ Bullock Wynn:
WYNN BULLOCK American, 1902-1975 Torso in Window, 1954. Gelatin silver print, printed circa 1970. 9½ x 7½ in. (24.1 x 19 cm). Monterey, California credit stamp on the verso. PROPERTY FROM THE STRAUSS COLLECTION Provenance Photographs, Sotheby's, New York, May 8, 1979, lot 341 Literature Bullock, Wynn Bullock, 1971, n.p.
Born in Detroit in 1912, Harry Callahan was a self-taught photographer. Callahan began taking pictures in his hometown Detroit for fun, opting for an inexpensive point and shoot camera over an expensive 16mm movie camera. In 1941 he joined a camera club and while there met celebrated photographers of the previous generation including Ansel Adams who gave a workshop for the class. After studying engineering at Michigan State University, Callahan worked as a photographic technician for General Motors, but was hired in 1946 by László Moholy-Nagy to teach photography at the Institute of Design (ID), Chicago. Initially established as the New Bauhaus, the ID was at the forefront of innovative methods of education and teaching photography in America in the mid-20th century. In 1948 Callahan met Edward Steichen, who responded strongly to his work, including it in numerous shows at the Museum of Modern Art, New York. In 1961, Callahan left Chicago to head the photography department at the Rhode Island School of Design, Providence with his friend and former ID colleague Aaron Siskind. He stepped down from the chairmanship in 1973, but continued teaching at the school until his retirement in 1977.
Callahan often transformed his everyday subjects—nature, architecture, city streets, his wife Eleanor and daughter Judith into (barely recognizable) simple forms; a visual essence that still evokes their worldly counterparts. Callahan’s goal, however, was to describe, not to conceal or distort. For each new subject, he refreshed his photographic vocabulary and used his 8×10 view camera and strong sense of design and composition to create meticulously crafted and elegant images.
Harry Callahan produced several monographs of his work including Harry Callahan (1996), Water’s Edge (1980), Harry Callahan: Color (1980), Callahan (1976), Photographs: Harry Callahan (1965), The Multiple Image (1961), and On My Eyes (1960). His work is held in the collections of numerous museums including the Art Institute of Chicago; Museum of Contemporary Photography, Chicago; Museum of Modern Art, New York and the George Eastman House, New York.
—Ashley Siple
Bunnell, Peter C. “Harry Callahan,” Degrees of Guidance: Essays on Twentieth-Century American Photography. Cambridge, Massachusetts: Cambridge University Press, 1993.
Callahan, Harry. “An Adventure in Photography,” Photographers on Photography. Englewood Cliffs, New Jersey: Prentice Hall, Inc., 1966.
Callahan, Harry. Callahan ed. and with intro by John Szarkowski. Millerton, New York: Aperture, 1976.
Callahan, Harry. Harry Callahan: New Color Photographs 1978-1987 with an essay by Keith F. Davis. Kansas City, Missouri: Hallmark Cards, 1988.
Coleman, Alan D, “Harry Callahan: An Interview,” Creative Camera International Year Book 1977, London: Coo Press Ltd., 1976.
Diamonstein, Barbaralee, with Harry Callahan. Visions and Images: American Photographers on Photography. New York: Rizzoli International Publications, Inc., 1981.
Greenough, Sarah. Harry Callahan. Boston: Dist. Bulfinch Press/Little Brown and Company, 1996.
Taken By Design: Photographs from the Institute of Design, 1937-1971 edited by David Travis and Elizabeth Siegel. Chicago: Art Institute of Chicago in association with the University of Chicago Press, 2002.
Ware, Katherine. Elemental Landscapes: Photographs by Harry Callahan. Philadelphia, PA: Philadelphia Museum of Art, 2001.
ROBERT CAPA Nam Dinh, South of Hanoi, Vietnam May 25th, 1954 Last roll of film, Military cemetery for French and Vietnamese French Union soldiers. Shortly after taking this photograph, Capa, whohad taken the famous photos of D-Day in WorldWar II, stepped on a land mine and was killed.
Added @ Carjat Etienne:
Added @ Caron Gilles:
How could we communicate that? Up against this light and shade in the jungle photographed by Gilles Caron, the soldiers' shadows seem petrified by the rays of light. In this predictable close edge we find a hint of what attached us to Vietnam.
We were fascinated less with the war than with beauty.
We never look at these photographs without thinking about it. In the medium of black and white and the sensitivity of the framing we appear to see, as do these soldiers of the 173rd Airborne, some of the moving Vietnamese "thread." It starts just behind the trees, we are sure.
A thread? Oh, yes! The infinity of the rice paddies framed by cumulus-spotted mountains. Their meticulous division into bee cells which, inch by inch, disciplined earth and water as far as the horizon. This grid of clay embankments where women toddle along, shoulders bent under the weight of balancing pole. Gestures, rhythms. The irrigation buckets held by two men facing each other, swinging in cadence at the extremity of a rope. The splashing made by harnessed water buffalo immersed in water.
Other water buffalomonstrous clay statues shelled with dry mudfollow children leading them by the nostrils. Or they squat on their backbones like Hindu mahout.
A flotilla of ducks sails over rivers and ponds.
In Vietnam, whether on the road or in the jungle, soldiers sometimes came so close to houses that they stumbled onto the intimacy of family life: mud walls, straw huts under the watch of a barefoot grandmother, small yards with dozing oxen under latanier palms.
Women raised up, a hand on the hip throwing back their conical hats on the nape of the neck. The gesture, beautiful. This archaic and pacified universe repeats itself for miles without beginning or ending. Only the light organizes its changing revolutions, scintillant intervals or else, as in this photograph, a stroboscopic alternation of sun and night. It wasand always isthis indestructible Vietnamese identity that endures; the substance escaping the storm, the reserve for the tomorrows of history.
Jean Claude Guillebaud has been war correspondent for Le Monde for three decades He has traveled extensively in Southeast Asia, Africa, the Middle East, and the former Soviet republics, and is the author of 30 books, including Return To Vietnam (1994).
Gilles Caron covered the Battle of Dak To for the French news organization, APIS, in 1967. In 1970, while in Cambodia, he disappeared near Phnom Penh. He was 30 years old.
Under Fire: Images from Vietnam, is a multimedia project that sells museum-quality prints of exclusive images of the Vietnam War by top war photographers at
Since 1967 Linda Connor has traveled to both distant and familiar places to photograph various lands and their people. Documenting megaliths and ruins, petroglyphs and caves, she investigates the visual forms of the sacred. The peacefully arranged flames in Ceremony, Sri Lanka capture the timeless essence of the cyclical and the spiritual. In 1990 the Museum of Contemporary Photography organized Linda Connor, Spiral Journey: Photographs 1967-1990, a retrospective exhibition and accompanying monograph of Connor’s work.
Linda Connor’s formal photographic education came under the instruction of Harry Callahan at the Rhode Island School of Design, Providence, and Aaron Siskind at the Institute of Design, Illinois Institute of Technology, Chicago (MS, 1969). Born in New York in 1944, Connor has taught photography for many years in California, primarily at the San Francisco Art Institute. Her work has been represented in numerous exhibitions and catalogues, and her photographs are also included in significant collections, including those at the Art Institute of Chicago; Museum of fine Arts, Boston; High Museum of Art, Atlanta; International Center for Photography, New York; Museum of Modern Art, New York; and the Victoria and Albert Museum, London.
Connor, Linda. Linda Connor: The Corcoran Gallery of Art, Washington, D.C., November 20, 1982-January 2, 1983. Washington, D.C.: The Gallery, 1982.
Connor, Linda. Luminance. Carmel Valley, Calif.: Woodrose Pub. in association with the Center for Photographic Art, 1994.
Connor, Linda, Denise Miller-Clark and Rebecca Solnit. Spiral Journey: Photographs 1967-1990. [Chicago]: Museum of Contemporary Photography, Colombia College Chicago, 1990.
Added @ Coplans John:
When John Coplans began photographing his aging body after he turned 60, he embarked on a documentation of age that is alternately humorous, reflective, and disquieting in the closeness of its observation. Seeing himself as an actor, Coplans examines various body parts closely, often quoting art historical postures with his sagging figure. Self-Portrait, Three Times is exemplary of his scrutinization of idealized expectations of the body and the self.
Born in London in 1920, John Coplans was educated in South Africa and England. After immigrating to the United States in 1960, he began teaching at the University of California at Berkeley. Coplans was the founding editor of Artforum magazine. Coplans worked as the senior curator of the Pasadena Art Museum from 1967 to 1970 and as the director of the Akron Art Museum in 1978. He has published numerous articles of art criticism, and his books include Weegee: Tater und Opfer (1978), Ellsworth Kelly (1973), Roy Lichtenstein (1972), Andy Warhol (1970), Serial Imagery (1968), and Cezanne Watercolors (1967). Coplan’s extremely close-up nude self-portraits have been exhibited at numerous institutions worldwide. He received the Frank Jewitt Mather Award of the College Art Association for services to art criticism in 1974; John Simon Guggenheim Memorial Foundation Fellowships in 1969 and 1985; and National Endowment for the Arts Fellowships in 1975, 1980, 1986, and 1992.
fotografebi..., :)
Apr 26 2006, 23:24
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